Lessons From the Indie Film Path with Bret Raybould | Kinolime Podcast Ep 40

Show Notes

Meet the Guest: New York City-based stand-up comedian and working screenwriter Brett joins the podcast to discuss bridging the gap between live comedy and professional screenwriting.

The Coppola Method: The episode kicks off with a quick look at legendary director Francis Ford Coppola's writing process, discussing how he would outline only 15 pages at a time and let the characters organically dictate the rest of the story.

Selling a Show to Tubi: Brett shares the exciting news of selling a new show to the streaming network Tubi. He praises the platform for its massive, barrier-free user base (requiring no login) and gives massive credit to his writing partner, Christian Duran, for shepherding the project to a successful sale.

Pitching "Stupor Heroes": Brett pitches the premise of their new animated series, Stupor Heroes. The story follows three 10-year-old kids who save a crash-landed alien and are granted superpowers. Because they are kids, they wish for completely useless abilities.

The Reality of "Worthless" Powers: The cartoon flashes forward 30 years, finding the trio as disenfranchised 40-year-olds still stuck with their stupid powers. The show acts as a comedic exploration of middle age and adulthood rather than a traditional superhero action show.

Stand-up vs. Screenwriting: Following some hilarious banter about their actual ages, the host transitions into asking Brett about his creative routine, exploring how his approach to writing stand-up material fundamentally differs from his process for writing structured scripts.

Full Transcript

[00:00]

Francis Ford Coppola would write every 15 pages.

[00:02]

I'm talking vintage, amazing, Francis Ford Coppola,

[00:05]

who is an incredible screenwriter.

[00:08]

He would only know where the next 15 pages are going,

[00:11]

and then he would know after that.

[00:12]

Because the characters would lead him.

[00:14]

Welcome to the Kina Live podcast.

[00:25]

We have an impromptu non-scheduled podcast today,

[00:28]

because the incomparable amazing bread-railed

[00:31]

came into the studio.

[00:33]

Broke in.

[00:33]

Broke in.

[00:35]

He forced us to podcast with him.

[00:38]

I know.

[00:38]

I was like, dude, I guess it's just not.

[00:40]

It'll actually be, I've even met via podcast initially,

[00:43]

but for us an amazing standup comedian, as well,

[00:45]

they very talented and paid screenwriter.

[00:48]

So we're going to pick a brand and all things about comedy

[00:51]

and writing.

[00:52]

So cheers to you.

[00:53]

Great for coming in.

[00:54]

Let's talk about what do you know?

[00:57]

Let's talk about you were hired to or sold a show.

[01:01]

Tell me the to be writing.

[01:02]

Because again, working comedian here in New York City,

[01:05]

but also parlaying onto the screenwriting side.

[01:08]

And I've read some of your screenplays.

[01:09]

Obviously, I'm a huge fan.

[01:10]

But tell us about what's going on with to be

[01:12]

in your show.

[01:13]

Sure.

[01:14]

So me and a couple good friends, we're

[01:17]

lucky enough to sell a show to Toobie,

[01:20]

wonderful streaming network.

[01:21]

I actually think the best, most exciting one,

[01:24]

because they have such a huge audience base.

[01:26]

And they do.

[01:28]

I think it's the most convenient one.

[01:31]

You don't have to have a login.

[01:32]

And they have a giant user base.

[01:34]

And admittedly, I have to give 99% of the credit

[01:40]

to one of my writing partners named Christian Durand,

[01:43]

an amazing comedian and writer and director,

[01:46]

who was the one mostly in charge of shepherding

[01:51]

that project to a sale.

[01:54]

You could just the show.

[01:55]

It's called Stupor Heroes.

[01:57]

Stupor Heroes.

[01:58]

I love it.

[01:59]

Stupor Heroes in its cartoon show.

[02:03]

The premises, three kids come upon a crash landed alien.

[02:07]

And they save him.

[02:09]

Because they save him, he grants them all each a superpower.

[02:14]

They're 10 years old.

[02:15]

They wish for stupid stuff.

[02:17]

And now they're 40 and stuck with these worthless powers.

[02:21]

So it's really.

[02:22]

I love action.

[02:23]

It's cartoon.

[02:24]

Oh, it's cartoon.

[02:24]

Yeah.

[02:25]

And so it's really more of a show about being

[02:27]

a disenfranchised 40-year-old than it is about.

[02:30]

You'll never see the powers.

[02:31]

Yeah.

[02:32]

It's just each episode tackle something different.

[02:34]

I love that.

[02:35]

So it's still.

[02:36]

You're 40, so you're you're barking up that tree.

[02:39]

34.

[02:40]

How dare you?

[02:41]

Are you I tell you over the 35?

[02:42]

I'm on 34.

[02:43]

You just go.

[02:44]

You're rapidly.

[02:45]

How dare you offer me Seltzer.

[02:47]

You butter me up.

[02:48]

Call me incomparable.

[02:50]

And you say, I'm not on the wrong side of 30 just yet.

[02:53]

You're sort of a bitch.

[02:54]

You're aging rapidly now.

[02:55]

Can you actually look great, dude?

[02:57]

That's you're two.

[02:57]

You're a baby.

[02:58]

As someone who's, you know, near and 50.

[03:00]

I mean, yeah.

[03:01]

42.

[03:01]

42.

[03:02]

I had to do it.

[03:03]

I had to do it.

[03:04]

So Brett, tell us how do you tell me you're writing process because, you know, you're a

[03:10]

stand-up comedian.

[03:11]

You're hilariously funny.

[03:13]

But you know, you you're not just all jokes in your material.

[03:17]

Like tell us how you go about.

[03:19]

Let's what's your typical writing day like?

[03:21]

Well, I write stand-up and scripts very differently.

[03:26]

Like you stand up while writing.

[03:27]

I like that idea.

[03:28]

Right.

[03:29]

I don't know if I could.

[03:30]

I think I'm standing desk.

[03:31]

Yeah, I've never it's awkward.

[03:33]

Don't do it.

[03:34]

It's awkward.

[03:35]

You think that'll be the key to unlocking your health and then your back hurts.

[03:38]

Now it's straight.

[03:39]

Yeah.

[03:40]

I don't write stand-up.

[03:42]

I have ideas.

[03:44]

The way I feel like you can write stand-up is you just talk to people.

[03:48]

You call a friend.

[03:49]

You run the joke premise by him because I don't feel like you're fun.

[03:52]

I'm funny alone at a coffee shop with my notebook.

[03:56]

And so and it stand-ups a spoken like art form.

[04:00]

Sure.

[04:01]

So the way you write is by speaking.

[04:04]

And so you have a fun idea and then just perform it.

[04:07]

Obviously over time it calcifies and if an audience is respond to it then you keep the

[04:15]

stuff that the audience is your proofreader.

[04:18]

And so you write what you write or you say what you say and then you keep what gets

[04:22]

a laugh.

[04:23]

Now how do you transition from the stand-up approach to now your feature film narrative approach?

[04:30]

I'm not just saying this because you're here drinking our beverages for four days.

[04:37]

You are actually quite talented.

[04:38]

So how tell us your writing process for that?

[04:42]

Also in Mooch.

[04:43]

But I don't like in my backpack.

[04:45]

I have 24 Celsius to cover your guys' fridge.

[04:48]

You took those only kind bars that we have.

[04:50]

But no really.

[04:51]

What is your writing process on the more narrative side?

[04:53]

So this is what I love about.

[04:55]

I'm pretty much only right comedy and I feel lucky that it's what I love and respond

[05:02]

to because for the most part I just like writing with a friend.

[05:07]

I have a couple writing partners.

[05:08]

They're both some of my closest friends.

[05:13]

And I love that I have a person I can write with because it makes me feel funny to be

[05:19]

around someone.

[05:20]

And I don't know.

[05:21]

I don't know.

[05:22]

I don't know.

[05:23]

I have written stuff on my own.

[05:25]

It's obviously genius.

[05:26]

I got the training on the ocean.

[05:27]

It's cool.

[05:28]

Yeah, I see.

[05:29]

But no, but it is easier to write comedy with someone else.

[05:32]

I agree.

[05:33]

Because I'm quoting one of the great writer directors, Jordan Peel.

[05:37]

This is the best writing advice is just follow the fun.

[05:41]

And I feel like fun for comedy is more evident.

[05:45]

What's fun?

[05:46]

Well, if your writing partner said something really funny, it's like you don't really need

[05:51]

to do a conversation.

[05:52]

Like what does that say about?

[05:53]

What were you doing?

[05:54]

You just kind of follow the fun.

[05:56]

And then later, if it doesn't work, then OK.

[05:59]

He also gave one of the best pieces of writing advice that I use.

[06:02]

He talked about a first draft, shoveling sand in the sandbox.

[06:05]

Because it's always hard and daunting to get your first draft done complete from 0 to 120

[06:10]

pages.

[06:11]

Shouveling sand every day.

[06:12]

Like, forget about what it's going to look like.

[06:13]

Just get the sand in the sandbox.

[06:15]

Yeah, and then you can build the sand castle.

[06:18]

Yeah, exactly.

[06:19]

So you have the tripod, you and your two boys.

[06:22]

But the tripod I love them.

[06:24]

That was good.

[06:25]

I'm a fucking tripod.

[06:26]

But we're a fucking tripod.

[06:28]

That's from the girl next door.

[06:29]

A young Paul Dana, by the way.

[06:31]

We're s-actors in Saga, apparently.

[06:34]

I always thought he was great.

[06:37]

That was his best performance.

[06:38]

No, but, you know, so you guys are riffing for the comedy.

[06:42]

But who's guiding in terms of the narrative or the story structure?

[06:45]

Like how does that go?

[06:47]

Because it's nice to have fun, but you also need a path of directions.

[06:50]

Yeah, and you definitely do.

[06:52]

And I mean, I think it's a feel thing.

[06:56]

I mean, my good friend, Christian Durand, who I've already mentioned once, is really

[07:00]

good at understanding kind of structure.

[07:02]

And is this working?

[07:06]

What is this scene?

[07:08]

You know, doing something-

[07:09]

Can we be like the boat captain?

[07:10]

He's like, Tom, I would say-

[07:11]

I would say-

[07:12]

I would say-

[07:13]

I would say-

[07:14]

I would say-

[07:15]

I would say-

[07:16]

I would say-

[07:17]

I would say-

[07:18]

I would say-

[07:19]

I would say-

[07:20]

I would say-

[07:21]

I would say-

[07:22]

Crazy confident, but some mild confidence is the right."

[07:25]

Checked for a puff-

[07:26]

No, no no no no no!

[07:27]

So no no no!

[07:29]

Say it were your chests!

[07:31]

I'm gonna stand up on this podcast.

[07:32]

Say it was September, I tried my pants, and I was already framed.

[07:34]

You're huge.

[07:35]

Tull, lanky and mother-so- you know.

[07:37]

But I do- I would say-

[07:38]

the reason I feel more confident is just because I've done it for a little bit longer and

[07:43]

the hardest thing for me, you're obviously a machine of a writer.

[07:48]

The hardest thing for me for the longest time was finishing one script.

[07:51]

It was always my dream to write a movie.

[07:53]

Shuffle in the sand.

[07:55]

Shuffle in the sand.

[07:57]

For like basically 10 years, I always had ideas and I made it to page 40 and that's when

[08:04]

it gets hard.

[08:05]

Page 35 is when it gets the first 25 pages are easy.

[08:07]

I love that.

[08:08]

We're going to stop here.

[08:09]

We're going to talk about a little tip or I need to say a tip.

[08:11]

We're going to identify that this is common.

[08:13]

Right?

[08:14]

So for what I see a lot when we're reading screenplays, even through my own history,

[08:18]

what's starting out was easy to get the first act on.

[08:20]

Right?

[08:21]

So it's just like set up character situation, call to adventure, whatever you want to call

[08:25]

it, boom.

[08:26]

But then what do you do after that?

[08:28]

That's like the big way called the second act, SAG.

[08:31]

And that's where the different screenplay paradigms come in to help you think differently

[08:35]

like, oh, by page 40, it becomes a little two textbook.

[08:37]

But what Brett's saying is a very, very common that typically around page 40, you're going

[08:42]

to be stuck.

[08:43]

Or maybe I'll even close here at the midpoint like, why don't I go here?

[08:46]

And that's something that I had to work really hard at.

[08:49]

And one piece of advice I can say is give your character goals.

[08:53]

Frances Ford Copa would write every 15 pages.

[08:56]

I'm talking vintage, amazing Frances Ford Copa, who was an, is and was an incredible

[09:01]

screenwriter.

[09:02]

He would only know where the 15, the next 15 pages are going and then he would know

[09:05]

after that because the characters would lead him.

[09:07]

And I think let your characters decide for you.

[09:09]

Go here, go there, but have them have goals and wants.

[09:12]

And I think if you have intention and obstacle, you'll be guided.

[09:15]

Sorry.

[09:16]

Screenwriter.

[09:17]

No, no.

[09:18]

It's awesome to talk about.

[09:19]

And I feel completely, because of the first 25, 30, 40 pages, that's the nugget of the

[09:28]

idea that excited you.

[09:29]

The one that's fun to say to people conversationally.

[09:34]

You know, this is fun to have a movie.

[09:35]

It is.

[09:36]

It's hard to make them, but a right them.

[09:38]

But yeah, that is when it gets hard.

[09:41]

I think it gets easier because the first finishing one script for me, even if it was

[09:48]

not good, it was just really good for me to go, oh, I could do it.

[09:53]

Yeah.

[09:54]

I could do it.

[09:55]

And then even if the script was dog shit, I don't think it was.

[09:59]

But even if it was, it's more of the psychological mountain of like, I can write.

[10:06]

And I feel like, you know, sometimes friends ask me for writing advice.

[10:11]

And again, I never want to be the one to band you about.

[10:14]

But it is just like, have no inhibitions.

[10:18]

Don't judge yourself.

[10:20]

And the best finish.

[10:23]

Just writers don't write writers finish.

[10:25]

Oh, it's just like a t-shirt right there.

[10:28]

Right, though, it is just like, no, you're right, you want to write, no pun intended.

[10:32]

But again, a lot of young writers or old people just writing, they don't finish that for

[10:39]

screenplay.

[10:40]

Or I know novelists that are working that novel for 15 years.

[10:42]

And I'm like, dude, you gotta finish that.

[10:44]

You know, it only counts.

[10:45]

It is shit because it's the best feeling in the world.

[10:47]

I always, every time I finish a draft, I like treat myself to a dinner.

[10:50]

Like a nice dinner, one of my favorite restaurants, wherever, or like, it could be bougie

[10:54]

or taco bell, whatever I'm the mood for, I'm treating myself to that because it's an

[10:59]

accomplishment.

[11:00]

And then once you have the clay, once you have the sand, now back to me is the fun, the

[11:04]

molding of the screenplay.

[11:06]

It's throwing up on the page.

[11:07]

There's so many metaphors, euphemisms about it.

[11:09]

But that's really what it is.

[11:10]

And you can only get it out.

[11:12]

Totally, and you can only learn it from doing it.

[11:14]

Yeah.

[11:15]

Everyone has a different process.

[11:17]

Every, you know, we've all, at least I could speak my own experience.

[11:19]

I've read many screenwriting books.

[11:22]

They don't matter.

[11:23]

They're good to read, but they don't matter.

[11:26]

You just have to go, how do I do it?

[11:28]

I don't outline.

[11:29]

I can't outline.

[11:30]

Outlining is homework.

[11:32]

I don't like doing homework.

[11:34]

I kind of want to just go in.

[11:35]

Now it's, I have the benefit of having a co-writer who also has a lot of vision and, you

[11:40]

know.

[11:41]

That's another great thing.

[11:42]

I touch myself to more talented people.

[11:43]

That's the guy I do.

[11:44]

What do you think I'm doing on the podcast?

[11:46]

I mean, seriously.

[11:47]

No, but that's another great point is if you feel it's too daunting by yourself, find

[11:52]

some writing partners.

[11:53]

I started out the same way.

[11:54]

I had writing partners because I'm like, I don't know what the fuck I'm doing.

[11:57]

But then you learn, and then eventually like, now I just only like writing my own

[12:00]

or collaborating with people, but I like tend to be more of the captain because I'm

[12:04]

more of a structure guy.

[12:05]

And I'm lean on like Brett and I have always been talking about doing something together.

[12:10]

It's really, really funny, right?

[12:12]

And it comes out with great characters.

[12:13]

So I'm like, I'll be the structure guy, I'm the character guy.

[12:16]

And the podcast was out like a, like what's it like a breakfast club?

[12:20]

That's it.

[12:21]

Right?

[12:22]

Hands up.

[12:23]

He does a fist in the air at the end.

[12:24]

Yeah.

[12:25]

Judd Nelson, freeze frame.

[12:26]

But yeah.

[12:27]

So if you feel it's daunting, go meet another co-writer and maybe find a co-writer that

[12:34]

complements you, right?

[12:36]

Or has the skill sets you don't have?

[12:39]

So one of my dear, dear friends, big time Hollywood writer, when we met initially, we weren't

[12:46]

going to write together.

[12:47]

He said, you know, John, I like working with you because you have the skills I don't

[12:51]

and I have the skills you don't.

[12:52]

And it was really, I'm like, you know what?

[12:53]

You're right.

[12:54]

And it was great.

[12:55]

We wrote together a number of things.

[12:56]

It was awesome because I learned from that too.

[12:58]

No, 100% do you guys write?

[13:00]

Because the only way I like to write is we write it together.

[13:03]

We literally, so that's a great, let's get into the writing process.

[13:06]

Even being direct.

[13:07]

Yeah.

[13:08]

Whereas it would be separate because he's a loner, I'm a loner and we would change

[13:12]

pages.

[13:13]

But now you guys go in the room together, tell us how that works.

[13:16]

Well, I just like to do it in the room with them and we have the script.

[13:20]

Well, Christian, he lives in Connecticut.

[13:21]

We do it over Zoom.

[13:22]

There's the share screen.

[13:24]

But with my friend Daniel.

[13:26]

Real room together?

[13:27]

Yeah, sure.

[13:28]

We were obviously doing what we can.

[13:29]

No, I know.

[13:30]

Sometimes it makes the trick.

[13:31]

The container becomes brooklyn.

[13:32]

But you're the other buddy.

[13:33]

He's here.

[13:34]

And then we do it in the room though.

[13:35]

We just only write in the room together.

[13:37]

We both have it on a screen and we see how many pages you get out of the work session.

[13:43]

We usually get over a 10 hour work session.

[13:48]

Really 10 hours.

[13:49]

And keep in mind, 10 hours is like we're going to walk.

[13:53]

But still on the Zoom.

[13:54]

Well, I'll dig around and read it.

[13:56]

No, 10 hours in person.

[13:58]

So like when I say 10 hours, it's like, you know, Daniel, he crashed in my apartment

[14:03]

and then we write for 10 hours.

[14:05]

And when I say right, we just do, we'll go get food.

[14:08]

We're going to walk.

[14:09]

Yeah, yeah, it's not like 10 hours is this.

[14:11]

What is Christian on the Zoom?

[14:12]

No.

[14:13]

Okay, so you and Daniel will work together in person physical three dimensional space.

[14:18]

Yes.

[14:19]

Christian will go in remotely.

[14:20]

10 hours will be like, I would say like six to eight pages.

[14:25]

Okay, good.

[14:26]

Something like that.

[14:27]

And I think I do think they, those pages end up being pretty close.

[14:33]

Yeah, I like it.

[14:34]

Yeah, I like it.

[14:35]

Yeah, I like it.

[14:36]

And sometimes I don't know how you write.

[14:38]

Sometimes I've learned a technique that does help me, which is just do bracket.

[14:44]

Say it ugly.

[14:45]

Say the idea ugly.

[14:46]

Yeah.

[14:47]

Say how is the character?

[14:48]

What do you want the character to say in the ugliest way, even if temp dialogue of like,

[14:54]

I'm mad at you.

[14:55]

Yeah.

[14:56]

You've betrayed me.

[14:57]

Don't fix it later.

[14:58]

Fix it later.

[14:59]

Another great point we're going to highlight here is that yes, don't be so precious when

[15:01]

writing your first draft specifically is just get it out.

[15:05]

Just, you know, people get, they, they, they labor over first grammatical aspects, but

[15:10]

also like, what's on the page?

[15:11]

Like, it's going to be perfect.

[15:12]

No, it's going to change because you're probably going to change that character's motivation

[15:15]

in the first act, which will influence every other scene after.

[15:18]

So why spend time on something now?

[15:19]

Just again, part of my language, shit it out, poop it out, throw it out, and throw it

[15:23]

up onto the page.

[15:25]

And then it's there.

[15:26]

Shovel said in the sandbox.

[15:28]

Don't get caught up in like, it's something with the character names.

[15:31]

I'll just write if it's a king, king, king name.

[15:34]

Yeah, that's it.

[15:35]

And then that would be like, I like writing and I like it.

[15:38]

A name will come later that feels right, but don't like, you don't want to write and

[15:41]

go, let me spend two hours trying to think of a great name for this king.

[15:47]

Yeah.

[15:48]

Just that's not really one.

[15:49]

King maker, king guy.

[15:50]

Yeah, king guy.

[15:51]

King guy.

[15:52]

I like it.

[15:53]

And I think that's why in Marty's Supreme, they had Kevin O'Leary, the Shark Tank

[15:59]

guy playing the investor.

[16:02]

I literally think, safty wrote it and he just wrote Kevin O'Leary in the temp as a writer

[16:08]

and then he was like, I'll just ask Kevin O'Leary.

[16:11]

But I'll just say this.

[16:12]

Kevin O'Leary was quite good.

[16:13]

He was good.

[16:14]

Dude, you're really unlikeable.

[16:16]

Harry Truman.

[16:17]

Did he not look identical to Harry Truman?

[16:19]

No, I'm not even kidding.

[16:20]

If they're going to do a Harry Truman bio pick, get Kevin O'Leary right now.

[16:24]

He's exactly like Harry Truman.

[16:25]

He does look a lot like Harry Truman.

[16:27]

Beyond.

[16:28]

Ron, could you just throw up a little graphic here?

[16:30]

Kevin O'Leary in Marty's Supreme and Harry Truman?

[16:33]

Like, I'm not even kidding, it's uncounty.

[16:36]

Brett, thanks for coming in today.

[16:37]

But before you go, what is the best piece of writing advice that you've received?

[16:43]

I did already say it, but it was writer's finish.

[16:45]

Tell me another one.

[16:46]

Okay, another one.

[16:47]

So we have two.

[16:48]

We have writer's finish.

[16:49]

Follow the fun.

[16:51]

And the third piece of writing advice is you can do it.

[16:55]

I'm not out of it.

[16:57]

Truly, those are my main two that have guided me.

[17:01]

If I had to give a third that someone smarter and more talented is said, it would be, I

[17:09]

mean, the term vomit draft I've heard is a good one, but it's kind of what you were

[17:13]

already saying, I've just hit it out.

[17:15]

I ain't serious, but next.

[17:16]

Everything else coming on you, look here.

[17:18]

It's like a heckler on stage getting too, brother.

[17:20]

I'm sweating.

[17:21]

I'm sweating now.

[17:22]

You know, we're going to look at him off the hook.

[17:23]

So Brett's big advice, writer's finish.

[17:27]

And have fun.

[17:28]

Yes.

[17:29]

It might be hard.

[17:30]

It's easy, but let's just be like writers finish really.

[17:33]

Writers finish.

[17:34]

If you're not first, you're last.

[17:36]

I'm kidding.

[17:37]

I'm just throwing out the movie quotes today.

[17:38]

I don't know why, but writer's finish.

[17:40]

And I love that.

[17:41]

I love something new today because of you.

[17:42]

I learned something new.

[17:43]

Shout out my friend Alex Heller, who just sold his first feature and is made with Rob

[17:48]

Lo.

[17:49]

He's the one who said that.

[17:50]

Rob Lo.

[17:51]

Alex Heller, they're making a movie.

[17:53]

It premiered at Sundance like a week or two ago.

[17:55]

Amazing.

[17:56]

Congrats to you.

[17:57]

Shout out to him.

[17:58]

Shout out to you, Alex Heller.

[17:59]

Heller.

[18:00]

Heller.

[18:01]

Alex Heller.

[18:02]

Shout out to you.

[18:03]

Before you leave, what's the update with the Super TVD?

[18:06]

Okay.

[18:07]

Can't talk about under-India.

[18:08]

Yeah.

[18:09]

TVD.

[18:10]

But Brett, you're amazing human being.

[18:12]

A wonderful writer and person.

[18:15]

And I so happy and blessed to call your friend.

[18:17]

Wow.

[18:18]

Thanks for coming in today.

[18:19]

You just really came from free lunch and shelter.

[18:22]

Guys, thanks for tuning in to Ketaline.

[18:25]

Hopefully you learned something new today.

[18:26]

If there's something that we said that you want to elaborate on or tell us your favorite

[18:31]

writing advice, I want to hear from you.

[18:33]

What is your favorite piece of writing advice that you've ever heard?

[18:35]

Hit us up in the comments.

[18:36]

I want to learn something new because I love these little, you know, one, two sentence,

[18:40]

you know, metaphors or, you know, motivational speeches or not speech, motivational sense,

[18:46]

whatever.

[18:47]

So I'm trying to say, put them in the comments.

[18:49]

Want to hear from you.

[18:50]

Your best piece of writing advice.

[18:52]

I'm John Schram.

[18:53]

Brett Ravel.

[18:54]

Okay.

[18:55]

Look at the camera over there.

[18:56]

Brett Ravel with confidence.

[18:57]

There we go.

[18:58]

All right.

[18:59]

Thanks, everybody.

[19:00]

Our previous two competition winners, the Wafe in near one and Mob mentality or two are

[19:04]

going into production this year.

[19:07]

Yes.

[19:08]

In 2026, we are making two movies, The Wafe and Mob mentality.

[19:12]

You, you win this year.

[19:13]

You're next.

[19:14]

We're making your film next.

[19:15]

So please, please, please.

[19:17]

Get your screenplays ready.

[19:18]

Sharper in your pencils.

[19:19]

Get the keyboards going.

[19:21]

Get your screenplay submitted to keenalime.com.

[19:23]

Create an account.

[19:24]

Ask questions right here to answer anything that you have to throw away.

[19:27]

We want to hear from you and we also, I want to read your screenplay.

[19:30]

So please go to keenalime.com.

[19:33]

submit your screenplay and we cannot wait to get this competition rolling.

Lessons From the Indie Film Path with Bret Raybould | Kinolime Podcast Ep 40

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